{"title":"ALTERED PUBLICATIONS","description":"","products":[{"product_id":"war-primer-2","title":"War Primer 2","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOne of the defining artist's books of the twenty-first century, \u003c\/span\u003e\u003cspan\u003eWar Primer 2\u003c\/span\u003e\u003cspan\u003e sees Adam Broomberg and Oliver Chanarin revisit Bertolt Brecht's landmark \u003c\/span\u003e\u003cspan\u003eWar Primer\u003c\/span\u003e\u003cspan\u003e (1955) for the age of digital media. Brecht's original paired press photographs from the Second World War with sharp four-line poems, revealing how images shape public understanding of war and teaching readers to look beyond their apparent documentary truth.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRather than simply updating Brecht's project, Broomberg and Chanarin shift their focus to the so-called \"War on Terror.\" They overlay the pages of \u003c\/span\u003e\u003cspan\u003eWar Primer\u003c\/span\u003e\u003cspan\u003e with photographs and video stills drawn from the internet (produced by soldiers, journalists, propagandists, and civilians) to create a dialogue between two eras of conflict. Images of the Twin Towers attacks, the execution of Saddam Hussein, and the presidency of George W. Bush intersect with Brecht's poems and wartime photographs, revealing enduring patterns in the circulation and political use of violence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBoth books question the authority of photographic images. If Brecht saw the press photograph as something to be deciphered, \u003c\/span\u003e\u003cspan\u003eWar Primer 2\u003c\/span\u003e\u003cspan\u003e asks what happens when images (instantly shared and endlessly reproduced) shape history as much as they record it. First published in 2011, the work remains a compelling reflection on the power of images in an age of digital media, misinformation, and fake news.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53679744745811,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/WarPrimer.png?v=1781706729"},{"product_id":"james-bond-dr-no","title":"James Bond. Dr No","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eGraham’s interest in expanding the boundaries of existing texts and revealing the creative potential of marginal interventions is exemplified in his 1991 intervention into Ian Fleming’s “Dr. No”. By inserting a full-page bookmark between pages 56 and 57, Graham extends and subtly redirects the narrative through a detailed account of a centipede inching across James Bond’s body. This fictional addition numbered 56a unfolds with a sensibility that lies somewhere between Balzac’s richly descriptive realism and Kafka’s uncanny logic, transforming a seemingly peripheral insertion into a potentially integral narrative event.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801219490131,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/JamesBond_f4080abe-d4e0-4922-938b-95ba92d82b39.png?v=1779270792"},{"product_id":"the-holy-bible-old-testament","title":"The Holy Bible: Old Testament","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn this limited-edition artist’s book, David Hammons revisits Arturo Schwarz’s seminal catalogue raisonné, “The Complete Works of Marcel Duchamp”, by simply rebinding it to resemble a Bible. The result is an object that combines reverence with irony. The intervention draws attention to the almost religious status Marcel Duchamp has acquired in postmodern art and questions the process of his canonization. The designation “Old Testament” adds a wry suggestion that new artistic revelations may yet follow.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eCharacteristic of Hammons’s practice, the work combines homage and critique through appropriation, alteration, and conceptual play. By transforming an existing book, Hammons raises questions about authorship and artistic authority. His name is absent from the cover and appears only as a signature, highlighting his interest in the logic of the readymade, as well as in the relationship between the copy and the original.\u003c\/span\u003e\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801234563411,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/HolyBible_9f412f77-1d21-4709-975f-74d82f3fa0cd.png?v=1779270704"},{"product_id":"the-catcher-in-the-rye-1","title":"The Catcher in the Rye","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eThis literary and literally appropriation of \"The Catcher in the Rye\", issued in a limited edition of 500 copies, reproduces the first edition of Salinger's coming-of-age novel. \u003cmeta charset=\"UTF-8\"\u003ePrince’s intriguing facsimile is nearly identical to the original, with one telling exception: the artist’s own name replaces Salinger’s on both the dust jacket and the title page. On the first page, an edgy disclaimer reads: “This is an artwork by Richard Prince. Any similarity to a book is coincidental and not intended by the artist.”\u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp class=\"x1yc453h x1hpqcdg x1ekroe6 xutxfr x1fie51u xgyxj25 xkyrhof x1elgs31 x1fv8qjw x1tbvfm1 xb72syl x1iew0xx x1c2l018 x14l7nz5 xuw7688 x1pjt2rx x160d6zm xrxpjvj\" dir=\"ltr\"\u003eShortly after its release, Prince sold copies for just a handful of dollars from a sidewalk in Central Park. That same year, his altered publication made its first appearance at Printed Matter’s New York Art Book Fair. Since then, it has become a genuine “catch” for book collectors and Prince aficionados alike.\u003c\/p\u003e","brand":"metabooks-dev","offers":[{"title":"Default Title","offer_id":53801239904595,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Catcher_Cover.png?v=1789195654"},{"product_id":"gustave-flaubert-un-coeur-simple","title":"Gustave Flaubert. Un cœur simple","description":"\u003cp dir=\"ltr\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eSherrie Levine has long explored radical forms of appropriation. While her investigations into representation and authenticity have typically involved recontextualising the work of renowned visual artists, including Walker Evans, Constantin Brâncuși, Vincent van Gogh, and Edgar Degas, here she turns to Gustave Flaubert’s nineteenth-century short story “Un cœur simple”.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThe story follows Félicité, a devoted and deeply religious servant whose shifting affections culminate in her mistaking a stuffed parrot for the Holy Ghost. By republishing and re-typesetting an early edition of the story, Levine questions conventional notions of authorship and originality.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eProduced in 1991 as a limited edition of fifty copies, this literal and literary act of appropriation predates Richard Prince’s “The Catcher in the Rye” by two decades.\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54018623635795,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Levine.png?v=1781683606"},{"product_id":"looking-for-looking-for-love","title":"Looking for Looking for Love","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA tribute to one of the seminal photobooks of the 1980s, \u003c\/span\u003e\u003cspan\u003eLooking for Looking for Love\u003c\/span\u003e\u003cspan\u003e reworks Tom Wood’s \u003c\/span\u003e\u003cspan\u003eLooking for Love\u003c\/span\u003e\u003cspan\u003e (1989), which documented the clientele of the Chelsea Reach Nightclub in New Brighton, Merseyside, between 1984 and 1987. Wood’s original publication could only include a fraction of the thousands of photographs he made at the club; to honour his subjects and convey the scale of the project, he created a large collage from the images, later reproduced as a double-page spread. McConnell’s book takes this lost collage as its point of departure, faithfully recreating its forms while transforming their scale and sequence. Scanned from McConnell’s own copy of Wood’s book and printed in vibrant risograph, the fragmented, enlarged images escape the confines of the photographic frame, generating a dynamic flow of exuberance, nostalgia, desire, and nightlife energy.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057232073043,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Looking.png?v=1782055440"},{"product_id":"2nd-hand-reading","title":"2nd Hand Reading","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSecond-Hand Reading\u003c\/span\u003e\u003cspan\u003e explores history, memory, and the production of knowledge through the obsolete form of the flip book. Created from a 1936 edition of \u003c\/span\u003e\u003cspan\u003eThe Shorter Oxford English Dictionary on Historical Principles\u003c\/span\u003e\u003cspan\u003e, the work unfolds through charcoal, ink, and watercolor drawings of the artist's pacing figure, Johannesburg landscapes, dancing figures, and poetic aphorisms. Transforming an outdated reference book into a moving image, Kentridge reflects on the materiality of the book and the provisional nature of historical knowledge. An accompanying film \u003c\/span\u003e\u003cspan\u003efeatures an original score by Neo Muyanga.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057260777811,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/2ndHand.png?v=1782055930"},{"product_id":"be-bold-with-bananas","title":"Be Bold With Bananas","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOne of the wittiest books in the collection, Martin Parr’s \u003c\/span\u003e\u003cspan\u003eBe Bold with Bananas\u003c\/span\u003e\u003cspan\u003e unfolds as a suite of exuberant recipes in which vernacular design, food photography, and advertising converge in a veritable salad of visual excess. Parr reworks a 64-page book published in 1972 by Fruit Distributors Limited for Banana Importers of Wellington, New Zealand. Printed in Cape Town and distributed in Australia by the Banana Growers Association, it promoted Pacific Island bananas as an ideal food for any time of day. Reflecting on his discovery of the original publication, Parr wrote: “I was immediately struck when I saw \u003c\/span\u003e\u003cspan\u003eBe Bold with Bananas\u003c\/span\u003e\u003cspan\u003e. It had some wonderful sexual undertones, and was just plain surreal. The title is also very ambivalent.” His intervention replaces the original cover and inserts a small photographic print depicting bananas, transforming the publication into a contemporary exercise in the visual pleasures of food porn.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54057267659091,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/BeBold.png?v=1782056261"},{"product_id":"krishnamurti-freedom-from-the-known","title":"Krishnamurti. Freedom from the Known","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSince 2001, Salon Verlag has invited more than thirty artists to transform existing publications of their choice into artist's books in the fullest sense of the term. These \"metabooks\" are published under the \u003c\/span\u003e\u003cspan\u003eEX LIBRIS\u003c\/span\u003e\u003cspan\u003e series, and include interventions by artists such as Louise Bourgeois, Thomas Ruff, Mark Dion, Albert Oehlen, Thomas Demand, Gregor Schneider, Peter Doig, Luc Tuymans, and Berlinde De Bruyckere. For each title, Salon Verlag has also produced a limited collector's edition accompanied by a limited-edition ex-libris (a print or a unique artwork).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor his “metabook” at Salon Verlag, Wolfgang Tillmans chose to intervene in an anthology of excerpts from Jiddu Krishnamurti, selected and edited by Mary Lutyens. In describing his intervention, the artist recalls the trajectory that led him to the philosopher's writings:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"I first came across the name Krishnamurti when studying at Bournemouth College in the early 1990s; my tutor Tony Maestri referred to him occasionally. Then Gilbert \u0026amp; George mentioned him to me when I portrayed them in 1997. In 2002 I then saw a notice in a Quaker meeting house announcing Krishnamurti video screenings. I went and bought some books and felt very at home and inspired by his writing and thinking. I often observe that it takes three cues until one acts on something. After the third time hearing his name, I acted upon it. \u003c\/span\u003e\u003cspan\u003eFreedom from the Known\u003c\/span\u003e\u003cspan\u003e is my favourite book of the few of his I own. It works as a whole but also particularly well when just opened up at any page and read for three or four pages. The design of the paperback cover seemed perfect as it was, so for the Ex Libris I didn’t want to take away the cover photographed by Cecil Beaton. Instead I designed a dust jacket for which I used my photograph paper drop (Krishnamurti) 2005.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBy intervening only at the level of the cover, Tillmans preserves the original publication while introducing a new visual and conceptual layer through his own image. This gesture resonates with Krishnamurti's rejection of authority and inherited truths: rather than proposing a system of belief, he advocated direct experience in the pursuit of knowledge. Tillmans's \u003c\/span\u003e\u003cspan\u003eEX LIBRIS\u003c\/span\u003e\u003cspan\u003e contribution thus becomes a dialogue between two forms of attention: Krishnamurti's philosophical inquiry and the artist's own act of reading and distilling his words.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54064054894931,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Krishna.png?v=1782133186"},{"product_id":"kleine-billardschule","title":"Kleine Billardschule","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54156736430419,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/GerhardR.png?v=1782922922"},{"product_id":"lehrsatze-uber-das-weltall-mit-beweis-in-form-eines-offenen-briefes-an-professor-einstein","title":"Lehrsätze über das Weltall mit Beweis in Form eines offenen Briefes an Professor Einstein","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54156746850643,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Ruhm.png?v=1782923552"},{"product_id":"the-cindy-shermans-i-d-like-to-fuck","title":"The Cindy Shermans I’d like to fuck","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54187922784595,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/BrianK.png?v=1783084327"},{"product_id":"the-system-of-landor-s-cottage-a-pendant-to-poe-s-last-story","title":"The System of Landor’s Cottage. A Pendant to Poe’s Last Story","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRodney Graham’s “The System of Landor’s Cottage. A Pendant to Poe’s Last Story” (1987) is a 312-page artist’s book that extends Edgar Allan Poe’s “Landor’s Cottage” (1849) by introducing a narrative addition about a mysterious machine. Graham’s alteration is influenced by the French writer Raymond Roussel, whose literary techniques employed polysemy, pastiche, and mathematical systems. As Graham explains in the exhibition catalogue published by the Vancouver Art Gallery in 1988:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“I have taken over Poe’s first-person narrator’s voice and his viewpoint, describing in this voice and from this viewpoint a small room which houses a machine ... highly complex and of no apparent rational function, a machine which seems ‘out of place’ and which calls for an explanation. The explanation is subsequently provided by Mr Landor himself, the owner of the house and the narrator’s host who undertakes to describe the origin and history of the annex. The main body of my novel is taken up with Mr Landor’s account of the components of the annex-machine, and the relation of the apparatus to the cottage as a whole.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe book also incorporates references to William Beckford’s Gothic novel \u003c\/span\u003e\u003cspan\u003eVathek\u003c\/span\u003e\u003cspan\u003e, which Poe originally quoted in “Landor’s Cottage”. Through this layered, “meta-meta” approach, Graham uses experimental structures and interconnected narratives to explore literary processes of appropriation and alteration. The back cover features a drawing by Graham’s friend and fellow artist Jeff Wall.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54188001952083,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/TheSystem.png?v=1783084747"},{"product_id":"holy-bible","title":"Holy Bible","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOne of the most remarkable acts of appropriation of the 2010s, this publication finds an uncanny resonance in the troubled times in which we live. Adam Broomberg and Oliver Chanarin’s “Holy Bible” is at once historical and prophetic, narrative and absurd, iconophilic and iconoclastic.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBy pairing the “Book of Books” with images drawn from the Archive of Modern Conflict (a major London-based photographic collection documenting war and disaster), the artists expose the mechanisms of violence in the age of mechanical and digital reproduction. The selected photographs pierce the veil of the sacred text, infusing it with an unsettling contemporary afterlife. Faithfully mirroring the format of the King James Version, the publication interweaves biblical passages with carefully selected images to interrogate authorship, the evidentiary status of photographs, and the persistence of visual clichés. Inspired by Bertolt Brecht’s annotated Bible, it also reproduces, at intervals, underlined passages, extending the dialogue between religion, history, and the politics of representation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThrough their iconographic study of contemporary violence, Brommberg and Chanarin literally wrote a new (and perhaps final) testament.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54207927943507,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/HolyBibleAdam.png?v=1783259687"},{"product_id":"purloined-a-novel","title":"Purloined: A Novel","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eJoseph Kosuth’s conceptual practice is impregnated with Wittgenstein’s philosophy: The meaning of a word is its use in language, says the British thinker. Through intricate strategies of appropriation, Kosuth shifts the rules of semantics according to the context in which words are used. In this tautological exercise, Purloined\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e– a term meaning to steal, filch, or take something dishonestly, often through stealth or a breach of trust – becomes both the title and the method. Kosuth uses 60 sheets from 60 different books to “write” a new novel: a fluid and seemingly coherent narrative assembled entirely from pre-existing texts.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis veritable work of para-literature constitutes an ultimate act of appropriation: a piece of literature written in rigorously conceptual terms. Displaced from their original contexts, the sparse pages become the new “words” of a Kosuthian language, in which meaning is neither fixed nor intrinsic, but produced through juxtaposition and context.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54245005132115,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Purloined.png?v=1783600436"},{"product_id":"bruce-lee","title":"Bruce Lee","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis publication is a meta-meta-appropriation of the biography “Bruce Lee: The King of Kung Fu. His Life, His Art, His Films and His Death” by Felix Dennis and Don Atyeo. Originally published by Straight Arrow Books, San Francisco, in 1974, the book was subsequently facsimilised in Arabic by the Modern Library, Beirut, in 1975. For this entirely visual re-publication, Dimitri Bruni and Manuel Krebs (also known as the Swiss graphic-design duo Norm) appropriated the Lebanese edition, whose pages carelessly reproduced newspaper and magazine clippings, unevenly printed in varying shades of grey and scattered across the pages without a fixed layout. When the duo encountered this impoverished edition, the impulse to give it a second life became evident:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“The brutalist attitude behind this book design inspired us to re-publish it. Our aim was to achieve the best possible reproduction of these already degraded images. In order to minimise any loss in quality, we printed the images on high-gloss paper using frequency-modulated screens. To lend the images the greatest possible presence, we also completely eliminated any typographical elements from the pages. All texts were in Arabic, hence not accessible to most of us anyway, and they would only have distracted attention from the images.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eTextless, this publication rewrites the original biography entirely through images, reconstructing the portrait of Bruce Lee, a polymath whose ambition exceeded the twentieth century: martial artist, actor, filmmaker, health fanatic, teacher, philosopher, and Zen master.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54245978931539,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/BruceLee.png?v=1783604418"},{"product_id":"letters-from-wittgenstein-abridged-in-ghent","title":"Letters from Wittgenstein, Abridged in Ghent","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLudwig Wittgenstein’s thought permeates Joseph Kosuth’s conceptual practice. In this artist’s book, the influence becomes literal. Kosuth takes as his starting point the correspondence between the British philosopher and architect Paul Engelmann, developing a parallel, anachronistic narrative through text and image. In 1925, Engelmann and Wittgenstein were commissioned by the philosopher’s sister, Margaret Stonborough-Wittgenstein – known, among other things, for posing for Gustav Klimt – to design her house in Vienna. The three-year project unfolded alongside a profound friendship, documented in an important corpus of letters published posthumously in 1967.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOver a discoloured facsimile of Engelmann’s publication of philosophical meditations and exchanges with Wittgenstein, Kosuth pastes photographs documenting the architectural transformation of the city of Ghent, where the book was commissioned and published. The two narratives unfold in parallel and complement one another: while the text traces the construction of a building – and a friendship – the photographs bear witness to the destruction and profound transformation of a city over the course of its recent history.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54275526820179,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/KosuthWit.png?v=1783781076"},{"product_id":"recueil-des-secrets-de-louyse-bourgeois","title":"Recueil des secrets de Louyse Bourgeois","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSince 2001, Salon Verlag has invited more than thirty artists to transform existing publications of their choice into artist’s books in the fullest sense of the term. Published under the \u003c\/span\u003e\u003cspan\u003eEx Libris\u003c\/span\u003e\u003cspan\u003e series, these “metabooks” include interventions by artists such as Wolfgang Tillmans, Thomas Ruff, Mark Dion, Albert Oehlen, Thomas Demand, Gregor Schneider, Peter Doig, Luc Tuymans, and Berlinde De Bruyckere. For each title, Salon Verlag has produced a limited-edition of ex libris multiples, and a collector’s edition accompanied by a unique work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor her “metabook”, Louise Bourgeois chose a historical publication written by the French midwife Louyse Bourgeois, known as La Boursier. Renowned for attending the birth of Queen Marie de’ Medici’s son, the future Louis XIII, La Boursier authored one of the earliest French obstetrical treatises to incorporate anatomical observations, becoming the first woman in France to publish a medical text. Her treatise unfolds as a detailed account of observations and practices concerning sterility, miscarriage, fertility, childbirth, and diseases affecting women and newborns.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eLouise Bourgeois’s intervention is deliberately restrained: rather than altering the historical text, she “undusts” it through three contemporary drawings: a newly designed cover and back cover and an evocative ex libris. Through this subtle act of recontextualization, Bourgeois invites the reader to reconsider the historical treatise through the lens of contemporary discourses surrounding female corporeality and its representation.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54335197282643,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/LouiseBourgeois_86f7df0c-2e20-4599-9c54-cf3e8ea9d7e7.png?v=1789370724"},{"product_id":"die-zeitungsannonce-als-kunstwerk","title":"Die Zeitungsannonce als Kunstwerk","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54335313346899,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/TimmUlrichs_back.png?v=1784293373"},{"product_id":"untitled-black-white","title":"[Untitled, Black\/White]","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn 1978, art dealer and curator Janelle Reiring invited Louise Lawler, Cindy Sherman, Christopher D’Arcangelo, and Adrian Piper to participate in a group exhibition at Artists Space on 105 Hudson Street in New York. D’Arcangelo removed his name from the exhibition, left his catalogue pages blank, and posted statements critiquing the politics of the art world. Sherman presented staged photographic narratives in which she performed fictional identities inspired by 1950s cinema. Piper combined a photograph of African American men with a satirical audio monologue that questioned viewers’ assumptions. Lawler, meanwhile, exhibited a borrowed racehorse painting under theatrical lighting, drawing attention to the conventions of exhibition display.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe same year, the cinematic and performative context of this exhibition extends into a parallel collaboration between Lawler and Reiring that resulted into a remarkable conceptual artist’s book that transforms Henry G. Wales’s account of Mata Hari’s execution, originally written for the \u003c\/span\u003e\u003cspan\u003eInternational News Service\u003c\/span\u003e\u003cspan\u003e, into a detailed film script. Wales, a British war correspondent, witnessed the execution of Gertrud Margarete Zelle, better known as Mata Hari, on October 15, 1917, after she had been convicted of espionage. Written in the style of a contemporary news report, his dispatch recounts her final hours (from prison to the execution ground) emphasizing her composure and dignity.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\"She did not die as actors and moving picture stars would have us believe that people die when they are shot. She did not throw up her hands nor did she plunge straight forward or straight back. Instead she seemed to collapse. Slowly, inertly, she settled to her knees, her head up always, and without the slightest change of expression on her face.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFrom its opening scenes to the final sound of the gunshot, Wales's narrative is meticulously translated into cinematic language and completed with camera directions. Lawler’s script oscillates between Wales's eyewitness account and Jeanne Moreau's portrayal of Mata Hari in the 1964 film. Halfway through the book, the screenplay is interrupted by the insertion of a seven of spades playing card and a loose transcription of Wales's original account. As Lawler notes in the colophon, \"With only slight alterations, this account serves as the voice-over narration during the driving sequence.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFor the cover, Lawler staged what appears to be her only experiment in assuming a fictional persona, disguising herself as Mata Hari. Her interest in imageless cinematic works continued in 1979 with a blind screening of \u003c\/span\u003e\u003cspan\u003eThe Misfits\u003c\/span\u003e\u003cspan\u003e (directed by John Huston), during which the projector lamp remained off while the marquee announced: \u003c\/span\u003e\u003cspan\u003eA MOVIE WITHOUT A PICTURE\u003c\/span\u003e\u003cspan\u003e. In this spirit, the Mata Hari artist's book offers a comparable cinematic experience: one that is read rather than watched.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThat same year, Lawler published two other “untitled” volumes—one red and the other blue—each illustrated entirely with the backs of playing cards, accompanied by descriptions of the images that would appear on their faces. This work belongs to the playful conceptual logic explored by contemporaries such as Marcel Broodthaers. Lawler's early artist's books are now extremely rare. During the 1970s, she distributed them not only through art bookstores and galleries but also in unlikely venues such as cinemas and hairdressers' salons. This partly accounts for the rarity of her early publications today.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54362731086163,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Lawler_black.png?v=1784618375"},{"product_id":"p-i-i-t-l-perfect-is-in-the-louvre","title":"P.I.I.T.L. [Perfect is in the Louvre]","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eShortly after completing his studies in art and philosophy at the Wayne State University in Detroit, James Lee Byars moved to Kyoto in 1958, settling near the Temple of the Golden Pavilion for nearly a decade. Influenced by Japanese Buddhism, Shinto rituals, and Noh theatre, Byars crystallized an artistic practice that combined conceptual minimalism with contemplative disciplines. During this period, he became fascinated by Japanese paper, an interest that later materialized in works such as “The Mile-Long Paper Walk” (1965) and “The Accordion Scroll \/ The Perfect Painting” (1961), a 360 cm-long, 30 cm-wide band of folded paper. His paper constructions, often rolled, folded, or otherwise transformed, continued to evolve throughout his entire career.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConceived as both a conceptual artwork and an artist’s publication, P.I.I.T.L. (Perfect Is in the Louvre) is connected to Byars’s live actions, including his “Apparition-Disparition” performance near the Louvre in Paris, during which he handed this folded publication directly to the audience. Perfection, particularly the word “perfect”, is a recurring theme in Byars’s work. He developed it into a personal and poetic inquiry, exploring the relationships between language and precious materials.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIssued as a folded printed multiple on thick Tintoretto Fedrigoni paper and set in Bodoni type, the work emulates the format and graphic style of Éditions de la NRF (Nouvelle Revue Française), published by Gallimard since 1911. Not only it pays a tribute to Gallimard, but also reifies Byars’s own practice, bringing together the institutional aura of the Louvre with the material language of the historical publishing house.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eJames Lee Byars’s fascination with folds and folded paper can be distilled in the phrase “This paper has undone me,” a famous line spoken by Cardinal Wolsey in William Shakespeare’s \u003c\/span\u003e\u003cspan\u003eHenry VIII\u003c\/span\u003e\u003cspan\u003e (Act III, Scene II), which Byars later adopted in his interviews and conversations.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54385761747283,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/PIITL.png?v=1784812965"},{"product_id":"some-disordered-geometries-by-francesca-woodman-bootleg","title":"Some Disordered Geometries by Francesca Woodman [bootleg]","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54385949966675,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/SomeDisordered.png?v=1784814655"},{"product_id":"nakai","title":"Nakai","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHirakata-born visual artist Katsumi Nakai was one of the seven founding members of Tekkeikai, an avant-garde group devoted to abstract and art informel that remained active until the mid-1960s. In 1964, Nakai left Japan for Europe and eventually settled in Milan, where he lived and worked for several decades before returning to Japan in 1996. He was included by the writer and art critic Guido Ballo in the so-called New Milanese School. Influenced by Lucio Fontana’s concept of Spatialism, Nakai explored time and space through formats that transcended the conventional canvas.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eConceived in this spirit and in conjunction with his 1972 solo exhibition at Galleria del Naviglio in Milan, this publication translates Nakai’s hybrid installation-paintings, constructed from vividly chromatic wooden boards and hinges, into a portable book-sculpture. Composed of finely assembled cuttings from Japanese press, the volume distills his Milanese artistic practice.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54402990440787,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/Nakai_24105398-28ee-44bc-974a-b7d646ca1df4.png?v=1789196583"},{"product_id":"das-neue-programm-der-cdu-csu-aka-flug-fluxblattzeitung-18","title":"Das Neue Programm der CDU\/CSU [aka flug\/fluxBLATTzeitung 18]","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54424927502675,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/dasneueprogramm.png?v=1785242224"},{"product_id":"cahier-dartiste","title":"Cahier d'Artiste","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54425899401555,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/CahierdArtiste.png?v=1785250521"},{"product_id":"freud-supplement-170a-170d","title":"Freud Supplement (170a - 170d)","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54595647734099,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4420.png?v=1786800991"},{"product_id":"un-coup-de-des-jamais-n-abolira-le-hasard-image","title":"Un coup de dés jamais n’abolira le hasard. Image","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMallarmé’s \u003cem\u003eUn coup de dés jamais n’abolira le hasard \u003c\/em\u003estands to postmodern poetry as Duchamp’s \u003cem\u003eFountain \u003c\/em\u003estands to conceptual art: a radical rethinking of the conventions of its medium, decades ahead of its time. In his notorious variation on the Symbolist poem, Broodthaers transforms Mallarmé’s work into an abstract, almost haptic sequence of images, emphasizing its spatial and typographic structure as a conceptual artwork in its own right.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAlongside his reworkings of Heinrich Heine’s \u003cem\u003eDie Lorelei \u003c\/em\u003e(in En lisant la Lorelei) and Baudelaire’s\u003cem\u003e La Beauté\u003c\/em\u003e (in \u003cem\u003eJe hais le mouvement qui déplace les lignes\u003c\/em\u003e), this work ranks among the most significant literary appropriations Broodthaers conceived over the course of his career. It was exhibited in 2024 as part of \u003cem\u003eTEXT AS IMAGE\u003c\/em\u003e at Studio 454 in Venice, alongside a profusion of publications devoted to concrete and visual poetry, as well as entirely “white books”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBroodthaers’s \u003cem\u003eUn coup de dés jamais n’abolira le hasard\u003c\/em\u003e not only shares affinities with Emilio Isgrò’s technique of conceptual erasure; it also coincided with the publication of Mario Diacono’s parody of Mallarmé, \u003cem\u003eA metrica n’aboolirà (JCT 1)\u003c\/em\u003e, conceived in 1968 and published that same year.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54638810202451,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4470.png?v=1787229137"},{"product_id":"time-1st-group-the-democrats-after-chicago","title":"Time. 1st Group (The Democrats After Chicago) [14\/16]","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s artist’s books is fundamentally transgressive. Beginning in 1969, Heinecken dismantled and reconfigured magazines, developing a major body of work that interrogated the mechanisms of appropriation. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. He often returned his altered magazines to newsstands, where they functioned as acts of infiltration, disrupting the conventions through which mass media produced and circulated meaning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn\u003cem\u003e Time\u003c\/em\u003e, Heinecken cut pages from the notorious periodical, overlaid them with lithographs of pornographic silhouettes, and reassembled them in an aleatory order. The resulting juxtapositions of erotic imagery with social, political, and cultural journalism unsettle the manipulative logic of mass media, shifting attention from the consumption of information to the necessity of scrutinizing how information is constructed and received.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis variation of \u003c\/span\u003e\u003cspan\u003eTime\u003c\/span\u003e\u003cspan\u003e was made using the September 6, 1968 issue. Heinecken retained the original cover, titled “The Democrats after Chicago”, featuring stylized portraits of Hubert Humphrey and Edmund Muskie in the aftermath of the 1968 Democratic National Convention. Each work in the series is unique, comprising a distinct arrangement of torn and reshuffled pages interspersed with randomly positioned erotic lithographs. The present work is number 14 of 16.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54638855717203,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4499_07bef564-eab0-49c1-b663-004c16614fa3.png?v=1789311052"},{"product_id":"time-1st-group-raquel-welch","title":"Time. 1st Group (Raquel Welch) [12\/16]","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s artist’s books is fundamentally transgressive. Beginning in 1969, Heinecken dismantled and reconfigured magazines, developing a major body of work that interrogated the mechanisms of appropriation. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. He often returned his altered magazines to newsstands, where they functioned as acts of infiltration, disrupting the conventions through which mass media produced and circulated meaning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn \u003cem\u003eTime\u003c\/em\u003e, Heinecken cut pages from the notorious periodical, overlaid them with lithographs of pornographic silhouettes, and reassembled them in an aleatory order. The resulting juxtapositions of erotic imagery with social, political, and cultural journalism unsettle the manipulative logic of mass media, shifting attention from the consumption of information to the necessity of scrutinizing how information is constructed and received.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis Time variation was made using the November 28, 1969 issue. Heinecken retained the original cover, featuring Rachel Welch in preparation for her role as Myra Breckinridge, the transgender protagonist of the film adaptation of Gore Vidal’s eponymous novel. Each variation is unique, comprising a distinct arrangement of torn and reshuffled pages interspersed with randomly positioned erotic lithographs. The present work is number 12 of 16.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54638887469395,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4503_38d7d798-3802-46ed-96d0-066ec8761703.png?v=1789310920"},{"product_id":"time-1st-group-raquel-welch-4-16","title":"Time. 1st Group (Raquel Welch) [4\/16]","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s artist’s books is fundamentally transgressive. Beginning in 1969, Heinecken dismantled and reconfigured magazines, developing a major body of work that interrogated the mechanisms of appropriation. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. He often returned his altered magazines to newsstands, where they functioned as acts of infiltration, disrupting the conventions through which mass media produced and circulated meaning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn \u003cem\u003eTime\u003c\/em\u003e, Heinecken cut pages from the notorious periodical, overlaid them with lithographs of pornographic silhouettes, and reassembled them in an aleatory order. The resulting juxtapositions of erotic imagery with social, political, and cultural journalism unsettle the manipulative logic of mass media, shifting attention from the consumption of information to the necessity of scrutinizing how information is constructed and received.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis Time variation was made using the November 28, 1969 issue. Heinecken retained the original cover, featuring Rachel Welch in preparation for her role as Myra Breckinridge, the transgender protagonist of the film adaptation of Gore Vidal’s eponymous novel. Each variation is unique, comprising a distinct arrangement of torn and reshuffled pages interspersed with randomly positioned erotic lithographs. The present work is number 4 of 16.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54638924923219,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4501_fec371b7-d1f2-4a88-b7f5-ee29b8dd1e3c.png?v=1789310881"},{"product_id":"periodical-pain","title":"Periodical Pain","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s artist’s books is fundamentally transgressive. Beginning in 1969, Heinecken dismantled and reconfigured magazines, developing a major body of work that interrogated the mechanisms of appropriation. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. He often returned his altered magazines to newsstands, where they functioned as acts of infiltration, disrupting the conventions through which mass media produced and circulated meaning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eUnlike his other Periodicals (\u003c\/span\u003e\u003cem\u003eTime\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003eGlamour\u003c\/em\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cem\u003eMademoiselle\u003c\/em\u003e\u003cspan\u003e), this volume brings together a carefully curated selection of articles drawn from various winter 1969 magazine issues. The compilation spans an eclectic mix of titles, including \u003cem\u003eEvergreen Review\u003c\/em\u003e, \u003cem\u003eGlamour\u003c\/em\u003e, \u003cem\u003eGolf Digest\u003c\/em\u003e, \u003cem\u003eGood Housekeeping\u003c\/em\u003e, \u003cem\u003eGuns \u0026amp; Ammo\u003c\/em\u003e, \u003cem\u003eMadames\u003c\/em\u003e, \u003cem\u003eMademoiselle\u003c\/em\u003e, \u003cem\u003eModern Male\u003c\/em\u003e, \u003cem\u003ePopular Photography\u003c\/em\u003e, \u003cem\u003ePlayboy\u003c\/em\u003e, \u003cem\u003eSports Illustrated\u003c\/em\u003e, \u003cem\u003eTrue Confessions\u003c\/em\u003e, \u003cem\u003eTrue Detective\u003c\/em\u003e, \u003cem\u003eTrue Experiences\u003c\/em\u003e, and \u003cem\u003eWoman’s Day\u003c\/em\u003e. From “The Little Girl That Santa Forgot” and “Food and Trimmings to Make Parties Fun for the Hostess Too” to “How to Measure Your Sexual Quotient” and “Why Must Gun Laws Protect Criminals”, the selected pages expose violence, expectations, and dysfunctions within American society. \u003c\/span\u003e\u003cspan\u003eThrough skillful editing and juxtaposition, the artist brings disparate fragments of popular culture into dialogue, transforming them into a charged critique of the mechanisms of mass-media manipulation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHeinecken produced only 19 copies of “Periodical Pain”\u003c\/span\u003e\u003cspan\u003e,\u003c\/span\u003e\u003cspan\u003e each handmade and unique.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54639307424083,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4490.png?v=1787232364"},{"product_id":"charles-baudelaire-je-hais-le-mouvement-qui-deplace-les-lignes","title":"Charles Baudelaire. Je hais le mouvement qui déplace les lignes","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMarcel Broodthaers’s conceptual reworking of Baudelaire’s sonnet “La Beauté” originated in a seminar on the poet given by the philosopher Lucien Goldmann in Brussels in the winter of 1969–70, to which Broodthaers had been invited to participate as an artist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHis fragmentary reading of the poem challenges the formal structures of typography and the fixity of meaning by focusing on its seventh line, which also provides the title of the book: “Je hais le mouvement qui déplace les lignes” (I hate movement that displaces lines).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn her essay “Marcel Broodthaers: The Place of the Subject”, Birgit Belzer interprets this conceptual variation as a playful engagement with “the conventions of editing, which are part of the definition of the book”: Broodthaers repeatedly manipulates its standard markers (the author’s name, title, place and date of publication) through “the same strategy of an occultation that affirms, validates and makes present what is absent”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAlongside his reworkings of Heinrich Heine’s \u003cem\u003eDie Lorelei\u003c\/em\u003e and Stéphane Mallarmé’s \u003cem\u003eUn coup de dés jamais n’abolira le hasard\u003c\/em\u003e, this work stands among the most significant literary appropriations Broodthaers conceived during his career. It was exhibited in 2024 as part of \u003cem\u003eTEXT AS IMAGE\u003c\/em\u003e at Studio 454 in Venice, alongside a profusion of concrete and visual poetry publications, as well as entirely “white books”.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54640285876563,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4472.png?v=1787237640"},{"product_id":"ikea-bathrooms-kitchens-wardrobes-besta-living-room-storage","title":"IKEA [Bathrooms\/ Kitchens\/ Wardrobes\/ Bestå living room storage]","description":"","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54649716343123,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4482.png?v=1787316995"},{"product_id":"periodical-6-2nd-group-glamour","title":"Periodical #6. 2nd Group (Glamour)","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe performative nature of Robert Heinecken’s artist’s books is fundamentally transgressive. Beginning in 1969, Heinecken dismantled and reconfigured magazines, developing a major body of work that interrogated the mechanisms of appropriation. Politically charged, his practice conceived of the artist’s book not as a static object but as a performative field. He often returned his altered magazines to newsstands, where they functioned as acts of infiltration, disrupting the conventions through which mass media produced and circulated meaning.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn this second group of\u003cem\u003e Periodicals\u003c\/em\u003e, Heinecken cut pages from Glamour magazine, overlaid them with lithographs of pornographic silhouettes, and reassembled them in an aleatory sequence. The resulting juxtapositions of erotic imagery with beauty, fashion, and popular-culture journalism unsettle the conventions through which mass media constructs and circulates images of femininity. By superimposing anonymous erotic silhouettes onto the magazine’s representations of beauty and glamour, Heinecken exposes the objectification of the female body and shifts attention from the consumption of images to the mechanisms through which they are produced and received.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis variation was made using the July 1969 issue of Glamour (US edition). Heinecken retained the original cover, featuring actress Cybill Shepherd, who would be cast two years later by Peter Bogdanovich in \u003cem\u003eThe Last Picture Show\u003c\/em\u003e\u003c\/span\u003e\u003cem\u003e \u003c\/em\u003e\u003cspan\u003e(1971), and seven years later by Martin Scorsese in \u003cem\u003eTaxi Driver \u003c\/em\u003e(1976). Each Periodical is unique, comprising a distinct arrangement of torn and reshuffled pages interspersed with randomly positioned erotic lithographs. The present work is number 4 of 9.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54649778045267,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4497_4d446aad-4786-4c3f-8ead-25e097407d45.png?v=1789311182"},{"product_id":"burning-small-fires","title":"Burning Small Fires","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eBruce Nauman and Ed Ruscha share profound conceptual affinities. In her profile of Nauman for \u003cem\u003eArtforum\u003c\/em\u003e (Summer 1986), Coosje van Bruggen recounts how, shortly after abandoning painting himself, Nauman encountered Ruscha’s work for the first time and was excited by the possibilities it opened up. Works such as\u003cem\u003e Damage \u003c\/em\u003e(1964), and \u003cem\u003eBurning Gas Station\u003c\/em\u003e (1966) struck him as being as much about thought and perception as about painting itself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn 1968, Nauman produced the artist’s book \u003cem\u003eBurning Small Fires\u003c\/em\u003e, featuring fifteen photographs of himself burning a copy of Ruscha’s 1964 edition of \u003cem\u003eVarious Small Fires and Milk\u003c\/em\u003e. Like Ruscha’s book, which contains fifteen images of small fires, Nauman’s work comprises fifteen photographs; one, larger than the others, reveals his hand, extending the homage from the photographic into the gestural and performative.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAs art historian Taylor Walsh has noted, while Ruscha treated burning as meaningless, Nauman’s act reintroduced something of the ritualistic power that fire had acquired amid the era’s countercultural protests. \u003cem\u003eBurning Small Fires \u003c\/em\u003ethus resonates with a year marked by mounting opposition to the Vietnam War and widespread political and social unrest.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThere is no record of the two artists discussing the book, and Nauman was characteristically volatile when questioned about it, leaving the boundary between homage and iconoclasm deliberately fluid. Ruscha, for his part, often joked about the fate of his inexpensive artist’s books, confessing to A. D. Coleman that\u003c\/span\u003e\u003cspan\u003e his publications often \"end up in the trash\" (\u003cem\u003eThe New York Times\u003c\/em\u003e, August 27, 1972). Nauman’s gesture can therefore be read as both an irreverent tribute to Ruscha and a literal enactment of the precarious status of the artist’s book as object.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNauman’s poster-book was exhibited in 2022 as part of \u003cem\u003eBurning Matter\u003c\/em\u003e\u003c\/span\u003e\u003cspan\u003e at Studio 454 in Venice, alongside works by Ed Ruscha, Jonathan Monk, Tiane Doan na Champassak, and other artists exploring fire as both image and material.\u003c\/span\u003e\u003c\/p\u003e","brand":"Metabooks","offers":[{"title":"Default Title","offer_id":54668804129107,"sku":null,"price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1068\/8898\/6963\/files\/DSC4474_40de52aa-bba8-4b61-9b9f-dd2c7fe0c45e.png?v=1789196112"}],"url":"https:\/\/metabooks.art\/collections\/publishing.oembed?page=2","provider":"Metabooks","version":"1.0","type":"link"}